The Works of Robert G. Ingersoll, Vol. 11 (of 12): Dresden Edition—MiscellanyIngersoll, Robert Green
Religion
The Works of Robert G. Ingersoll, Vol. 11 (of 12): Dresden Edition—Miscellany
Ingersoll, Robert Green
Free thought
The greatest pictures and the greatest statues, the most wonderful and
marvelous groups, have been painted and chiseled with words. They are as
fresh to-day as when they fell from human lips. Penelope still ravels,
weaves, and waits; Ulysses' bow is bent, and through the level rings
the eager arrow flies. Cordelia's tears are falling now. The greatest
gallery of the world is found in Shakespeare's book. The pictures and
the marbles of the Vatican and Louvre are faded, crumbling things,
compared with his, in which perfect color gives to perfect form the glow
and movement of passion's highest life.
Everything except the truth wears, and needs to wear, a mask. Little
souls are ashamed of nature. Prudery pretends to have only those
passions that it cannot feel. Moral poetry is like a respectable canal
that never overflows its banks. It has weirs through which slowly
and without damage any excess of feeling is allowed to flow. It makes
excuses for nature, and regards love as an interesting convict. Moral
art paints or chisels feet, faces, and rags. It regards the body as
obscene. It hides with drapery that which it has not the genius purely
to portray. Mediocrity becomes moral from a necessity which it has
the impudence to call virtue. It pretends to regard ignorance as the
foundation of purity and insists that virtue seeks the companionship of
the blind.
Art creates, combines, and reveals. It is the highest manifestation of
thought, of passion, of love, of intuition. It is the highest form of
expression, of history and prophecy. It allows us to look at an unmasked
soul, to fathom the abysses of passion, to understand the heights and
depths of love.
Compared with what is in the mind of man, the outward world almost
ceases to excite our wonder. The impression produced by mountains, seas,
and stars is not so great, so thrilling, as the music of Wagner.
The constellations themselves grow small when we read "Troilus and
Cres-sida," "Hamlet," or "Lear." What are seas and stars in the presence
of a heroism that holds pain and death as naught? What are seas and
stars compared with human hearts? What is the quarry compared with the
statue?
Public-domain text, read in full here on John Shaqi.
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